No president today is more controversial than Venezuela's Hugo Chávez Frías. Elected in a landslide in 1998, he promised a peaceful revolution. That peaceful dream became a nightmare when Chávez was overthrown in a coup d'état in 2002. Surprisingly, he was brought back to power by his supporters, mostly barrio dwellers, within forty-eight hours. Although Chávez continues to be dogged by controversy, he stays in power because of these supporters who see themselves as active participants in a democratic revolution.

As a former Catholic priest who has lived in Venezuela for the past twenty years and spent eight of those years in a cardboard-and-tin shack in one of Caracas' barrios, Charles Hardy is in a unique position to explain what is taking place. Cowboy in Caracas: A North American's Memoir of Venezuela's Democratic Revolution gives the reader insight into the Venezuelan reality, using an anecdotal presentation drawn from the writer's personal experiences.

Winner, 2022 Nicolás Cristóbal Guillén Batista Outstanding Book Award

Creolizing the Nation identifies the nation-form as a powerful resource for political struggles against colonialism, racism, and other manifestations of Western hegemony in the Global South even as it acknowledges the homogenizing effects of the politics of nationalism. Drawing on Caribbean, decolonial, and Latina feminist resources, Kris F. Sealey argues that creolization provides a rich theoretical ground for rethinking the nation and deploying its political and cultural apparatus to imagine more just, humane communities.

Analyzing the work of thinkers such as Édouard Glissant, Frantz Fanon, Gloria Anzaldúa, María Lugones, and Mariana Ortega, Sealey shows that a properly creolizing account of the nation provides an alternative imaginary out of which collective political life might be understood. Creolizing practices are always constitutive of anticolonial resistance, and their ongoing negotiations with power should be understood as everyday acts of sabotage. Sealey demonstrates that the conceptual frame of the nation is not fated to re-create colonial instantiations of nationalism but rather can support new possibilities for liberation and justice.

An anthology of plays from the Crooked Mirror, the leading Russian cabaret of the Silver Age

“Don’t blame the mirror if your mug is crooked!”

Parody dominated early twentieth-century Russian cabaret, but the Crooked Mirror extended its lampooning to theatrical practice itself. Eclectic in its targets, the Saint Petersburg theater mocked not only naturalism but also symbolism, futurism, and “Meyerholditis.” Its shows parodied both the stale conventions of melodrama and opera and the stylized trends in staging, wielding satire to provoke artistic and social reform. Though the theater was liquidated in 1931, many of its innovations would become standard techniques in cabaret repertoires and improv revues.

As a cultural phenomenon of the Silver Age, the Crooked Mirror deserves critical attention, yet it has received only fleeting mention in histories of Russian theater and biographies of its major figures. This anthology fills a critical gap in our understanding of that heady era by bringing together key plays—most appearing in English here for the first time—together with short biographies of their authors and robust commentary and annotations. Laurence Senelick guides readers through the artistic and ideological evolution of the Crooked Mirror and provides performers with the material to bring its innovations back to the stage.

Crossing the River presents a wide range of Nguyen Huy Thiep's short fiction, both realistic stories in contemporary settings and retellings of folk myths that serve as contemporary parables. When Thiep's stories first appeared in the 1980s, they set off a chain of debate, not only within intellectual and political circles, but also within the society at large. Typically, the struggles of his characters were about survival, not survival in the context of war or revolution, but survival in the context of the emotional and psychological strength it takes to live within the harsh confines of post-war Vietnamese society. Thiep captured the emotional quality of Vietnamese life in a way no other author had done, and his importance can be recognized today by his enormous influence on younger writers.

Showing how museum practices shed new light on literary form

How and why do books deploy objects in order to narrate the past? To answer this question, Emma Bond sifts through collections of objects stored in boxes, drawers, baskets, and displayed on shelves in contemporary texts by authors such as Valeria Luiselli, Maaza Mengiste, Orhan Pamuk, and Olga Tokarczuk and interprets them using a framework of museum practices. These practices, which include collection, curation, conservation, and display, have helped to turn real-life museums into three-dimensional narrative spaces. Curating Worlds: Museum Practices in Contemporary Literature shows how we can use this same set of practices to shed light on literary form itself: how stories are created, shaped, and communicated. Harnessing museum practices as an innovative lens for critical interpretation, Bond provides a fresh theoretical framework to engage with the meanings of object collections in literature and to make sense of the lives, and afterlives, of things today.

Violence haunts 1915 Atlanta and so does the golem a group of girls creates

A dark, lyrical blend of historical fiction and magical realism, The Curators examines a critically underexplored event in American history through unlikely eyes. All of Atlanta is obsessed with the two-year-long trial and subsequent lynching of Jewish factory superintendent Leo Frank in 1915. None more so than thirteen-year-old Ana Wulff and her friends, who take history into their own hands—quite literally—when they use dirt from Ana’s garden to build and animate a golem in Frank’s image. They’ll do anything to keep his story alive, but when their scheme gets out of hand, they must decide what responsibility requires of them. The Curators tells the story of five zealous girls and the cyclonic power of their friendship as they come of age in a country riven by white supremacy.

For decades Continental theorists from Derrida to Deleuze have engaged in provocative, penetrating, and often extensive examinations of modern philosophers-studies that have opened up new ways to think about figures such as Descartes, Spinoza, Leibniz, Locke, Hume, Rousseau, and Kant. This volume, for the first time, gives this work its due. A systematic rereading of early modern philosophers in the light of recent Continental philosophy, it exposes overlooked but critical aspects of sixteenth- through eighteenth-century philosophy even as it brings to light certain historical assumptions that have colored-and distorted-our understanding of modernist thought. This volume thus retrieves modern thinkers from the modernistic ways in which they have been portrayed since the nineteenth century; at the same time, it enhances our view of the roots and concerns of current Continental thought.

What claims does the early modern period have on contemporary philosophy? How have recent theorists engaged this material, and why? In answer, some of these essays explore how major Continental theorists such as Derrida, Deleuze, Le Doeuff, Irigaray, Kristeva, and Althusser explicate the ideas of classical modern thinkers; others draw on recent Continental insights to examine the doctrines of modern philosophers beginning with Machiavelli and ending with Kant. Together they show how current Continental theory reinvigorates the study of the history of modern philosophers by transforming not only how we interpret their answers to certain questions, but also how we understand the very nature of these questions.